
The Grissom Gang
May 28 1971
•2h 8m
•Crime, Drama, Action, Thriller
The Grissom Gang is a remake of the notorious 1949 British melodrama No Orchids For Miss Blandish. Kim Darby plays a 1920s-era debutante who is kidnapped and held for ransom. Her captors are the Grissoms, a family comprised of sadists and morons, and headed by Ma Barker clone Irene Dailey. One of the Grissoms, played by Scott Wilson, takes a liking to his prisoner, which results in a bloody breakdown of the family unit. Both The Grissom Gang and the original No Orchids For Miss Blandish were inspired by the best-seller by James Hadley Chase, though neither film retains Chase's original ending.
Cast
See all
Kim Darby
Barbara Blandish

Scott Wilson
Slim Grissom

Tony Musante
Eddie Hagan

Robert Lansing
Dave Fenner
Recommendations
See all
On Friday at Eleven
An enigmatic woman recruits a gang of specialised criminals to rob a US Army payroll armoured truck bound for Marseilles. However, things don't go exactly as planned.

Perhaps Love
A love triangle develops between the male and female leads and the director during the making of a musical in Mainland China.

Maintenance by Any Means
"Maintenance by any Means" is about two maintenance men vying for the position of maintenance supervisor in an apartment complex. The maintenance men must compete with each other in order to get the job left open by the former Maintenance Supervisor. They need evaluations by the people who live at the apartments for every work order they finish. The problem is the renters themselves. Each one they run into has their own set of interesting problems. The maintenance men soon discover that a positive review may be hard to come by. Fixing broken down items in the apartments is the least of their worries. Finally one of the maintenance men must win the contest, by any means.

People
People is a film shot behind closed doors in a workshop/house on the outskirts of Paris and features a dozen characters. It is based on an interweaving of scenes of moaning and sex. The house is the characters' common space, but the question of ownership is distended, they don't all inhabit it in the same way. As the sequences progress, we don't find the same characters but the same interdependent relationships. Through the alternation between lament and sexuality, physical and verbal communication are put on the same level. The film then deconstructs, through its repetitive structure, our relational myths.